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CBS
Given the success of NCIS and NCIS: Los Angeles, it was a no-brainer for CBS to extend the franchise to New Orleans in a new series debuting this fall. Check out where all three NCIS shows are filming right now.
NCIS
NCIS, which recently celebrated its 250th episode, returns for a 12th season on Sept. 23.
Today, the show is filming scenes for for the upcoming season at Valencia Studios in Valencia, CA which has served as their home base since 2003.
NCIS: Los Angeles
NCIS: L.A. is currently filming at 104 Fremont Pl, Los Angeles, a swanky residence in a gated community that was also featured in The Artist.
The show is moving to a new Monday night timeslot when it returns to CBS this fall.
CBS
NCIS: New Orleans
Filming is already underway on NCIS: NOLA, starring Scott Bakula, CCH Pounder and Zoe McLellan, and this week they are filming at one of New Orleans' most famous historic site: the U.S.S. Kidd. The ship was the first to be named after Rear Admiral Isaac C. Kidd who died in the attack on Pearl Harbor and now it will make history again with a prominent role in this NCIS: New Orleans episode.
See what else is filming on location today in my Daily Filming Locations at OnLocationVacations.com!

Major spoilers ahead if you haven't seen Monday night's season finale of The Following!
Just when you thought Ryan Hardy (Kevin Bacon) won against the evil Joe Carroll (James Purefoy) and was safe at home with his lady love Claire Matthews (Natalie Zea), all hell broke loose... again. The Following's Season 1 finale was filled with shocking twists, major deaths (RIP Agent Parker), and one serious cliffhanger.
Ryan and Claire got shivved by Ryan's ex-girlfriend in his kitchen! Are they gone for good? What will Emma do now that her leader (and lover) is dead? Hollywood.com caught up with the cast and creators at the Academy of Television Arts and Sciences for a special screening of the finale, and they dished on where the show will go from here.
"Season 2 will be different than Season 1 and at the same time it’s going to make perfect sense as to why it’s different," executive producer Marcos Siega tells Hollywood.com. How charmingly vague! One thing he's planning on improving — how he deals with major character deaths.
"I become too invested, that’s my problem," Siega says. "I fell in love with Adan [Canto] who played Paul, and I fell in love with the Paul/Jacob [Nico Tortorella] storyline," Siega says. "I knew exactly what was going to happen, I knew when it was going to happen, but I didn’t expect it to have that effect on me. And then when we got to that moment [where both Paul and Jacob died] I was like, 'I wish we could continue this.' So what I’ve learned from that is that I’m going to think more about these big decisions."
When it comes to those big decisions of who will die on the show, executive producer Kevin Williamson knows that it is no small matter. "That’s a tough decision. Sometimes the actor and cast start surprising you and you want to keep the character on so you have to figure it out," Williamson tells Hollywood.com. "You’re only plotting out 15 episodes and I have so much story to pack in that I feel like I short-changed some characters, whereas some may have overstayed their welcome. There are so many characters and so many moving pieces, it’s a tough puzzle to put together. I will tell you, I was sad to see Jacob go and I was super sad to see Rodrick go. I would have loved to explore them more."
While Jacob and Rodrick won't be seeing Season 2 thanks to their unfortunate demises, Williamson is already planning out how Season 1 will transition into Season 2. " I always planned for a Season 2. You have to plan for that," Williamson says. "Tonight’s ending is also a beginning. It’s that metaphorical ending where everything that was set up in the pilot tries to play out in the final chapter."
The final chapter ended with serial killer Joe dying in a fire after trying to kill Ryan and Claire. Follower #1 Emma (Valorie Curry) was last seen hiding out in Alabama crying over Joe's death, and her grief might propel her to become the next big bad.
"She thinks that Ryan is responsible for [Joe's] death, and for everyone’s death," Curry tells Hollywood.com. "Everything’s personal now. Before, her beef with Ryan was really about Joe. She hated him because Joe did, and she loved him because Joe did. Now she’s got her own vendetta against him because he’s the reason that everything has gone so awry, and why she’s had to do unspeakable things."
And even though Joe was confirmed dead at the end of the finale, we might not have seen the last of Purefoy on The Following. "I believe so, but that's no guarantee," Purefoy says of the chances that he'll stick around for Season 2. "Honestly, it's a show about serial killers. There will be a high body count and we all knew that going in."
A show about murderers also contains plenty of disturbing imagery, and Bacon's toughest moments from Season 1 were all in Monday's finale. "Just in general the idea that the Parker character gets buried and we’re trying to find her," Bacon says. "The outcome of that and a couple of things in this finale were tough."
There's no word yet on whether or not Ryan Hardy will live through his stabbing, but there's a high probablity he will. Besides, Bacon has already begun to contemplate Season 2. "I wouldn’t want the show to become in any way a procedural. That would be a drag," Bacon says. "In other words, if every week, Hardy finds a killer. I wouldn’t want the show to not explore new territory for the characters. The reason you do a television show is you either morph as a character or uncover things in the past; that’s what is exciting about it. It’s all about character for me."
However Season 2 turns out, we're sure Hardy could use a vacation first. He's certainly earned one.
Follow Sydney on Twitter: @SydneyBucksbaum
More:'The Following': James Purefoy on Serial Killers and Kevin Bacon'The Following' Recap: Murder and Mayhem at the Rec Center
From Our Partners:Miley Goes Braless for Magazine Cover (Celebuzz)33 Child Stars: Where Are They Now? (Celebuzz)

Tuesday's all-new episode of White Collar is taking Peter (Tim DeKay) and Neal (Matt Bomer) back to a time when jazz clubs were all the rage. The pair's forgery and money laundering case leads them into one of the most iconic New York institutions, the famous Cotton Club, where guest star Diahann Carroll sings two musical numbers. Check out Hollywood.com's exclusive sneak peek at the episode, entitled "Empire City," where Peter and Neal question guest star Bill Bellamy at the famed Manhattan jazz joint.
Other guest stars include Keith Robinson, Joe Forbrich, Eliyas Qureshi and Haneefah Wood. The episode is directed by DeKay himself.
White Collar airs on Tuesdays at 10 PM ET/PT on USA Network.
[Photo Credit: USA]
Follow Sydney on Twitter @SydneyBucksbaum
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The 36 year old was crowned Best Supporting Actress for her role in Quentin Tarantino's Django Unchained and Best Actress in a Drama Series for her turn in hit U.S. TV series Scandal, which also won Best Drama Series. In addition, she received the President's Award for her public service work on behalf of President Barack Obama.
She was also praised for breaking the colour barrier and becoming the first African-American woman to lead the cast of a primetime drama since Diahann Carroll in Julia over three decades ago.
Carroll praised the Scandal star, saying, “I think she’s enjoying one of the great moments of her life right now in our industry."
Joking as she stepped on stage to collect her final prize, she said, "Wow, OK, this is the last time that I even have a shot to be up here, just in case you're getting sick of me."
Meanwhile, George Lucas' film about the Tuskegee Airmen, Red Tails, was named Best Motion Picture, and Flight's Denzel Washington and Won't Back Down's Viola Davis beat out the competition for Best Actor and Best Actress. Samuel L. Jackson nabbed the trophy for Best Supporting Actor for his role as Leonardo DiCaprio's sidekick in Django Unchained, and Beasts of the Southern Wild picked up the Best Independent Motion Picture trophy.
TV award winners included Don Cheadle (Actor in a Comedy Series for House of Lies), L.L. Cool J (Actor in a Drama Series for NCIS: Los Angeles), Omar Epps (Supporting Actor in a Drama Series for House M.D.), Vanessa Williams (Supporting Actress in a Comedy Series for Desperate Housewives), and Cuba Gooding, Jr. (Actor in a Television Movie, Mini-Series or Dramatic Special for Hallmark Hall of Fame's Firelight).
In the music categories, Usher and Alicia Keys were named the Best Male and Female Artist, and tragic Whitney Houston was honoured for Best Album (I Will Always Love You: The Best Of Whitney Houston) and Best Song (I Look To You).
The list of major winners is:
Motion Picture - Red Tails
Actor in a Motion Picture - Denzel Washington (Flight)
Actress in a Motion Picture - Viola Davis (Won't Back Down)
Supporting Actor in a Motion Picture - Samuel L. Jackson (Django Unchained)
Supporting Actress in a Motion Picture - Kerry Washington (Django Unchained)
Independent Motion Picture - Beasts of the Southern Wild
International Motion Picture - The Intouchables
Documentary - On the Shoulders of Giants - The Story of the Greatest Team You've Never Heard Of
TV Comedy Series - The Game
Actor in a Comedy Series - Don Cheadle (House Of Lies)
Actress in a Comedy Series - Cassi Davis (Tyler Perry's House of Payne)
Supporting Actor in a Comedy Series - Lance Gross (Tyler Perry's House of Payne)
Supporting Actress in a Comedy Series - Vanessa Williams (Desperate Housewives)
Drama Series - Scandal
Actor in a Drama Series - LL Cool J (NCIS: Los Angeles)
Actress in a Drama Series - Kerry Washington (Scandal)
Supporting Actor in a Drama Series - Omar Epps (House M.D.)
Supporting Actress in a Drama Series - Loretta Devine (Grey's Anatomy)
Television Movie, Mini-Series or Dramatic Special - Steel Magnolias
Actor in a Television Movie, Mini-Series or Dramatic Special - Cuba Gooding, Jr. (Hallmark Hall of Fame's Firelight)
Actress in a Television Movie, Mini-Series or Dramatic Special - Alfre Woodard (Steel Magnolias)
Actor in a Daytime Drama Series - Kristoff St. John (The Young and the Restless)
Actress in a Daytime Drama Series - Tatyana Ali (The Young and the Restless)
News/ Information - (Series or Special) - Unsung
Talk Series - The View
Reality Series - Welcome to Sweetie Pie's
Variety Series or Special - Black Girls Rock
Children’s Program - Kasha and the Zulu King
Performance in a Youth/ Children’s Program - Loretta Devine (Doc McStuffins)
New Artist - Elle Varner
Male Artist - Usher
Female Artist - Alicia Keys
Duo, Group or Collaboration - Mary Mary
Jazz Album - The Preservation Hall 50th Anniversary Collection by The Preservation Hall Jazz Band
Gospel Album - Go Get It by Mary Mary
Music Video - Girl On Fire by Alicia Keys
Song - I Look To You by Whitney Houston and R. Kelly
Album - I Will Always Love You: The Best Of Whitney Houston by Whitney Houston
Spingarn Medal - Harry Belafonte

While recent animated blockbusters have aimed to viewers of all ages starting with fantastical concepts and breathtaking visuals but tackling complex emotional issues along the way Ice Age: Continental Drift is crafted especially for the wee ones — and it works. Venturing back to prehistoric times once again the fourth Ice Age film paints broad strokes on the theme of familial relationships throwing in plenty of physical comedy along the way. The movie isn't that far off from one of the many Land Before Time direct-to-video sequels: not particularly innovative or necessary but harmless thrilling fun for anyone with a sense of humor. Unless they have a particular distaste for wooly mammoths the kids will love it.
Ice Age: Continental Drift continues to snowball its cartoon roster bringing back the original film's trio (Ray Romano as Manny the Mammoth Denis Leary as Diego the Sabertooth Tiger and John Leguizamo as Sid the Sloth) new faces acquired over the course of the franchise (Queen Latifah as Manny's wife Ellie) and a handful of new characters to spice things up everyone from Nicki Minaj as Manny's daughter Steffie to Wanda Sykes as Sid's wily grandma. The whole gang is living a pleasant existence as a herd with Manny's biggest problem being playing overbearing dad to the rebellious daughter. Teen mammoths they always want to go out and play by the waterfall! Whippersnappers.
The main thrust of the film comes when Scratch the Rat (whose silent comedy routines in the vein of Tex Avery/WB cartoons continue to be the series highlight) accidentally cracks the singular continent Pangea into the world we know today. Manny Diego and Sid find themselves stranded on an iceberg once again forced on a road trip journey of survival. The rest of the herd embarks to meet them giving Steffie time to realize the true meaning of friendship with help from her mole pal Louis (Josh Gad).
The ham-handed lessons may drag for those who've passed Kindergarten but Ice Age: Continental Drift is a lot of fun when the main gang crosses paths with a group of villainous pirates. (Back then monkeys rabbits and seals were hitting the high seas together pillaging via boat-shaped icebergs. Obviously.) Quickly Ice Age becomes an old school pirate adventure complete with maritime navigation buried treasure and sword fights. Gut (Peter Dinklage) an evil ape with a deadly... fingernail leads the evil-doers who pose an entertaining threat for the familiar bunch. Jennifer Lopez pops by as Gut's second-in-command Shira the White Tiger and the film's two cats have a chase scene that should rouse even the most apathetic adults. Hearing Dinklage (of Game of Thrones fame) belt out a pirate shanty may be worth the price of admission alone.
With solid action (that doesn't need the 3D addition) cartoony animation and gags out the wazoo Ice Age: Continental Drift is entertainment to enjoy with the whole family. Revelatory? Not quite. Until we get a feature length silent film of Scratch's acorn pursuit we may never see a "classic" Ice Age film but Continental Drift keeps it together long enough to tell a simple story with delightful flare that should hold attention spans of any length. Massive amounts of sugar not even required.
[Photo Credit: 20th Century Fox]

The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.

If a major motion picture studio gave you $50 million to make the movie of your choice what would it be like? If you’re producers Tim Bevan and Eric Fellner and writers Simon Pegg and Nick Frost it’d be a loving lampoon of geek culture and an homage to the films of the Spielberg/Lucas revolution but nostalgia is both an advantage and disadvantage in director Greg Mottola’s Paul.
Pegg and Frost star as a pair of nerds from across the pond who fulfill lifelong dreams when they fly to San Diego for the annual Mecca of nerdom Comic-Con. The doofy duo extend their trip to tour America’s extraterrestrial hot spots including Area 51 where they pick up an unexpected alien hitchhiker on the run from the proverbial men in black. Across the country they go getting into trouble picking up more passengers and building bromantic bonds as the little green man Paul inches closer to his escape from planet Earth and the shadowy government official who has been exploiting his knowledge of the universe since he crash landed in Wyoming over 60 years ago.
Fan-favorite filmmakers since 2004’s Shaun of the Dead Pegg and Frost have been making geek chic for years now and continue to create identifiable roles for themselves while finding humorous ways to write their like-minded friends into their movies. Their collection of wacky characters is charming if incredibly derivative but for better or worse they are the heart and soul of the film. Jason Bateman Kristen Wiig Bill Hader and Jo Lo Truglio turn in fun performances but I expected a bit more from the Jane Lynch David Koechner and Sigourney Weaver cameos. Still Seth Rogen’s vocal performance as Paul adds significant layers to an already adorable alien and enlivens the adequately rendered CG character.
The comedy is surprisingly sweet and doesn’t bite like Mottola’s Superbad though there are enough religious jabs and signs of anti-establishment fervor to call it mildly subversive. Lack of laughs isn’t the issue here; lack of originality is. Mottola is too dependent on pop-culture references and inside jokes pertaining to E.T. Star Wars and Close Encounters of the Third Kind so much so that the film ultimately becomes a parody of itself as its storyline mirrors that of Steven Spielberg’s massive 1982 blockbuster (in this world the movie mogul actually consults the incarcerated alien for inspiration for his beloved family film). While these nods are all amusing they’re not enough to carry the film and Mottola/Frost/Pegg offer little else. At its worst Paul will give you a reason to revisit those classic sci-fi staples and remember the good old days. At best it provides a few mindless chuckles and gives you good reason to give the geek next to you a great big hug.

The age-old debate over fate vs. free will has been and always will be a tough theme to crack in any medium but with the benefits of modern filmmaking technology the theory can be explored in ways that Philip K. Dick never imagined. However when one relies too heavily on spectacle to tell a story a piece of cerebral science fiction can quickly become just another action extravaganza. In this day and age there’s a fine line between the two; The Matrix walked that tightrope with style and grace while Next never found its footing in the first place. Fortunately the precious work of novelist Dick has for the most part been treated with respect by Hollywood (the aforementioned Nic Cage dud notwithstanding) but that doesn’t necessarily mean movies based on his stories are completely faithful to his vision.
Case in point: George Nolfi’s directorial debut The Adjustment Bureau an adaptation of Dick’s short story “Adjustment Team.” The film stars Matt Damon as David Norris a successful businessman and rising political candidate who after a chance encounter with the girl of his dreams (Emily Blunt) loses a crucial election. He happens to run into her on a Manhattan bus the following week before finding his office swarming with masked men who are “adjusting” everyone inside. Richardson (John Slattery) the man in charge captures Norris who unsuccessfully flees the scene after seeing behind “a curtain he wasn’t even supposed to know existed” as the enigmatic figure puts it. From that point on Norris must live with the knowledge that he (and we for that matter) is not in control of his own life. Rather the choices he makes fit perfectly into “The Plan” that’s been written by “the Chairman”.
In relation to my earlier statement I have to say that Nolfi’s picture looks stunning but his natural urban aesthetic doesn’t overpower the story. Sleek contemporary production design and elegant costumes characterize the high-concept story and the wraithlike agents who shape our destinies. Topically we’re dealing with some heavy material but Nolfi and editor Jay Rabinowitz move the action along at a brisk pace that keeps you engaged and entertained without having to try. The film is properly proportioned as a chase thriller romantic adventure and sci-fi fantasy and thankfully no component overshadows another.
Setting the film in the world of politics and big business helps make its larger-than-life revelations a bit more accessible (as do appearances from Michael Bloomberg Jon Stewart and Chuck Scarborough) while providing sub-text about the corruption involved in elections and campaigns (there are conspicuous shades of The Manchurian Candidate in the movie) but the writer-director often tries too hard for broad appeal. For a film with existential implications as severe as they are here the dialogue is at times hokey and superficial. Dick’s source material is far more abstract and Nolfi for the sake of commercial success panders to the palette of soccer moms and mallrats.
What’s worse is his unwarranted exposition of the Bureau a shadowy organization whose major allure is anonymity. Some secrets are best kept and less can be so much more when crafting a mysterious atmosphere; Nolfi reaches that level of magnetic curiosity but squanders it as he reveals the truth about the Bureau and its grand scheme. On the other hand he brushes over the technical lingo between agents Harry Mitchell (Anthony Mackie) McCrady (Anthony Ruivivar) and others without explanation perhaps hoping that the ambiguous terminology will fool you into thinking that his script is smarter than it really is.
Even though Nolfi’s allegorical conclusions are uncomfortably ham-fisted the chemistry between Damon and Blunt alone is enough to enchant you; this is one highly watchable cinematic pairing that should be revisited as soon as possible. Their innocent relationship blossoms organically and together they make it seem as natural on screen as it is for their star-crossed characters. Even if you have a hard time believing in higher powers or manipulative Orwellian forces you’ll have faith in David and Elise’s fated relationship one of the most captivating couplings I’ve seen on the big-screen in some time.

This film is based on Elegy for Iris literary critic John Bayley's biography of his late wife the brilliant writer and philosopher Iris Murdoch. Iris is unconventional in the sense that it does not adhere to a structured plot or story line but instead focuses on their relationship by flashing back and forth between the present and 40 years ago when the two first met. In the sequences taking place in the past Kate Winslet plays a young confident Murdoch in her formative years a woman revered by men and openly bisexual. Hugh Bonneville plays the young and apprehensive Bayley hopelessly pursuing her. The present however reveals a drastic role reversal for the couple: We see Murdoch in her 70s as played by Judi Dench and witness her descent into Alzheimer's disease and the toll it takes on her husband played by Jim Broadbent. The once-subservient husband has been thrust into a caretaker position and painfully tries to cope with his beloved wife's illness and loss of sanity.
Dench deservedly received a best actress Oscar nomination for the fabulous job she does as the older Murdoch. She is convincing as a brilliant thinker and even more believable as her condition worsens--check out the heartbreaking scene when Bayley locks himself in the study to get away from her irrational behavior and she scratches the windowpane on the glass door like a cat while looking at her husband with utter helplessness. Dench conveys her character's vulnerability in a single glance. As an older Bayley Broadbent is as impressive as Dench especially as he struggles to be assertive yet avoid being too harsh. Bonneville as a young Bayley could almost be Broadbent's clone. At first glance he looks like the same actor made to look older through some sort of makeup or special effects wizardry. Bonneville skillfully hatches the young Bayley's traits and tics later perfected by Broadbent. Winslet also Oscar-nominated for Iris (in the supporting actress category) well plays Murdoch's early audacity and boldness.
Director Richard Eyre does a beautiful and seamless job flowing from the past to the present throughout the film. Although the film barely delves into Murdoch's work the importance of her writing is established with scenes from a BBC interview or a luncheon given in her honor. Eyre also does an exceptional job conveying Bayley's hopeless predicament: he fusses over Murdoch like an overprotective parent intermittently lashing out at her only to apologize sobbing afterward for having done so. It's sweet and pitiful especially since Bayley believes that the Iris he fell in love with is still in there somewhere. But while the film is visually exquisite and convincing the subject matter is not necessarily entertaining. We know Murdoch will eventually succumb to her illness but it's even more dreadful to have to watch every agonizing step. By the time Murdoch was reduced to playing in the dirt and watching Teletubbies I found myself wondering When is she going to die already?